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About Me

  1. Another Saros preview from NAMM. Release date is circa the end of summer.
  2. https://www.soundtoys.com/superplate-intro-namm-2023/ Looks like SoundToys is back from the dead and finally releasing Super Plate. Worth it? You decide!
  3. Hey Folks The latest version of the Soundtoys 5 bundle brings together an expanded range of 22 audio effects, including the new SuperPlate plug-in. In Soundtoys 5.4, SuperPlate is also integrated into Effect Rack with a stunning new suite of presets. Super Plate is an optional add-on for those who own the Effect Rack plug-in but not the full Soundtoys 5.4 bundle. PRICING SuperPlate will be sold individually for $149 MSRP or as a trade-up from Little Plate to SuperPlate for $59. Soundtoys 5.4 will be available for $499 MSRP or as an upgrade from Soundtoys 5.3 to 5.4 for $59. SuperPlate can be added to the Effect Rack plug-in for $59. If you own the Soundtoys 5.3 bundle, it will be included in the downloadable update from the Soundtoys website for $59. USD Namm Video
  4. Tone Junkie has a NAMM special. NAMM80 has been working to get 80% off. https://tonejunkiestore.com/
  5. For those who have been considering Soothe2, you may want to hold off and mark your calendar. I received this email and will hold off purchasing until this nice deal hits, regular $209 down to $139. The goods: Spring sale While traditionally our first sale of the year has been during Easter, this time it will be held one week afterward to coincide with the NAMM Show 2023. The prices will be as follows: spiff: 99 € / $99 / £85 soothe2: 139 € / $139 / £119 The sale will begin on Friday April 14 and end on Monday April 17.
  6. I used an RME UFX for last 10 years or so and it was always rock solid. I have had an a UAD card since they were released. I recently got an Apollo x4 on Windows and really got into the unison preamps, console app (though RME TotalMix is far more flexible), and the whole UA interface. I thought I’d keep my RME UFX to track natively low latency, but I get 32 samples on the x4 with no issues and then didn’t seem the need to keep the RME which I sold last week (and felt bad letting it go!) I do need a few more inputs so will wait to see if anything is announced at NAMM and get additional UA interface next month. They are all cool tools for sure. RME does drivers right no doubt.
  7. I've always wondered if "age-related" hearing loss isn't just nature's defense against our noisy world. We now know that it isn't really age-related at all, e.g. the hearing acuity of an 80-year-old from a remote tribe in the Amazon is as sensitive as that of a young child in urban America. In a 2008 talk by a hearing specialist at NAMM, they said that current teens have the hearing sensitivity of a 50-year-old fifty years ago. They chalked it up to in-ears at high volume for long hours. And predicted that by the time today's teenagers are in their 50's, hearing impairment will have become epidemic and a major health crisis. They also noted that one of the worst occupations for hearing loss, those who lose their hearing faster than average, was mix engineers. That hit hard for the audience, who were mostly mix and mastering engineers. They didn't have to include performing musicians. We already know we're screwed.
  8. Wolfram Franke... https://www.musicradar.com/news/tech/namm-2016-sampling-meets-synthesis-in-tracktions-organic-biotek-synth-plugin-632868
  9. I'm not of the opinion that Cakewalk is losing share in the overall DAW market. Compared to 4 years ago, there are now multiple YouTube channels dedicated, or largely dedicated, to Cakewalk tips and tutorials. There's a good balance, too, with, for instance, @Xel Ohh and @AdK Studios covering hip hop/EDM methods and @Creative Sauce leaning more toward the traditional "recording studio" approach. There are others, too, and they're all very good, I've learned things from all of them. As for why there's not more coverage in traditional print media, I think that's down to the aforementioned zero budget for marketing, and, unfortunately, the free license model. BandLab don't buy ads, period. Now whether magazines are biased toward companies who do, I'll be charitable and say that it helps keep them off the radar, because the magazines' staffs don't pay attention to the product. There has always been a certain amount of quid pro quo in publications: buy our ads and we cover your products. BandLab are outside that loop, despite owning multiple music publications. The magazines know that even if they did a cover story on Cakewalk, BandLab wouldn't buy an ad in the issue. I think REAPER has the same issue: Cockos don't spend money on advertising, and consequently are never featured in SOS or CM or Beat. The fact that it's Windows-only, IMO has little to do with it, as Logic is regularly covered and only made for a much smaller platform. Mixbus and REAPER even run on Linux and you never see articles about them either. As far as hardware and other integration, sadly, our cherished freeware licensing model likely impacts that, as companies may see users of a freeware DAW as being either broke or cheapskates who don't like to spend money on music making tools. Something that also impacts it is that there are no staff dedicated to selling other companies on the benefits of integration with their products. The way it works is that at the very least, someone reaches out via phone or email and pitches the other company on how popular their DAW (or whatever) is and how their users are clamoring for better integration with their devices, how they'll both benefit from the companies being able to advertise (oh, that word again) the integration. This is one of the things that going to NAMM in Anaheim is great for, it lets companies be visible to each other and the press, and gives them a chance to stop by booths and schmooze. But we've lost the NAMM Show due to the pandemic. It used to be a good way to catch headcolds, so the caution is well-founded. That's my take on why Cakewalk gets so little press. What's worked well for REAPER is grass roots advocacy by an enthusiastic user base. That can be annoying at times, as it can come across as proselytizing. But suggesting it when someone on a forum or IRL or wherever asks "what's a good DAW?" helps. Also mentioning in notes on your Bandcamp or SoundCloud page that you made it in Cakewalk. I try to do my part and "give back" by helping people out on this forum (and occasionally on Facebook), creating multiple themes for public consumption, and submitting thorough bug reports, and the aforementioned Wikipedia editing. Remember, anyone can edit Wikipedia. There are entries for Sonar, Cakewalk, Inc., and the original program called Cakewalk. They were a mess before I edited them; grammatical errors, factual errors, timeline errors, missing information. The current program is still waiting for its own entry. So I think that for now, at least, grass roots promotion by the userbase is all Cakewalk can get. The dev staff are all industry veterans who know their way around, but they were really hired to develop, not market. Noel does keep the KVR entry up to date with each release.
  10. These are all fine ideas, but they require employees or consultants to do them. As far as I know, the only staff on Cakewalk are the developers and support. From my observations, BandLab's promotional budget for Cakewalk is next to nil. The only money I've seen them spend was sending some staff to Anaheim for the NAMM Show a couple of years back when we used to have NAMM Shows. I've suggested that there be Cakewalk laptop stickers and t-shirts made available for purchase. I've done some cleanup work on a few of the legacy Wikipedia pages, and made sure that Cakewalk by Bandlab is on all of the lists of DAW's and audio software, but there's still no page for Cakewalk by Bandlab itself.
  11. I remember the last NAMM show I attended. While I was waiting to talk with Noel, I was watching him demo the latest "stuff" in CbB to an employee of Avid.
  12. There are only a handful of musicians as universally loved and respected as Quincy Jones. I remember seeing Q in person, at a NAMM show many years ago. Other celebs had hurried past fans into their limos, but not Q. He took selfies with fans and autographed anything they stuck in front of him, smiling the whole time. Classy dude. Rashida Jones' Grammy-winning biography is on Netflix right now. It's worth checking out. His multiple brushes with death, often triggered by overwork, have made him philosophical about music and life in general. He would be such a cool guy to hang out with, I think.
  13. Thanks for taking the time to post all this great music! We're looking forward to featuring some of the amazing work from you at the NAMM show. We'll be using five of these projects at the Cakewalk booth at NAMM! Each project represents a distinct style and use of the program. It was exciting for me to see the depth of use of the program and how well produced some projects are. While there isn't time to accept more submissions before NAMM, please feel free to submit further material that showcases your use of CbB. As mentioned earlier we need to grow our demo content and may also utilize some material for tutorials. We're also interested in seeing some more use cases for some other areas of the program such as the step sequencer, Matrix, audio snap as well as heavy electronic music projects. We're going to feature the demos as well as live stage recordings from the NAMM show on the cakewalk_team BandLab page here: https://www.bandlab.com/cakewalk_team Please follow this account to get updates on the NAMM show! We'll soon upload some of the demos projects there. Thank you all for using Cakewalk and helping us with this. It is truly appreciated!
  14. That was recent history, after Tracktion broke free from Mackie's clutches, where they were unfortunately left nearly abandoned for 5 years... https://en.wikipedia.org/wiki/Tracktion_Waveform Tracktion was developed by independent UK designer/programmer Julian Storer, and released in 2002 by UK-based Raw Material Software. US-based Mackie is a division of LOUD Technologies specializing in studio recording and live sound products. It took over the distribution of Tracktion in 2003. It was sold in standalone, boxed retail versions and bundled with Mackie, Tapco, and Echo Audio computer-audio interfaces and digital-capable mixing boards. Although no official word came from Mackie, the user's understanding was that Tracktion had been discontinued as the company issued no updates, communication, or announcements on it since January 2008. However, at the January 2013 NAMM show, Tracktion's original developer Julian Storer announced he had reacquired control of the software and would continue developing Tracktion with his new Tracktion Software Company.
  15. Tracktion Livestream 2021 post NAMM, Q&A with dev team and presentation of F'em synth by Wolfram:
  16. Here's one of my favorite Hendrix tunes from his amazing Electric Ladyland sessions. I had some time available and wanted to start using the Fostex cassette recording deck I'd picked up. Just getting the song recorded was a trip. My keyboard player had an extra Mini Moog and let me grab it for my bass track. I used a Boss Dr Rhythm 550, my '70 fender strat, a Korg CX-1 organ and my Evolution guitar amp that 2 engineer friends and I assembled for the '86 Chicago Namm show that year. We designed this amp for the guitarist. It had everything I wanted...a fully integrated amplifier. First off, the head was 70 watts. We added 2 eq channels for clean (white) and (red) distortion, 2 inputs, loop in and out jacks, aux out and headphone jacks. A hard/soft button for the distortion effect and a flanger/chorus effect and analog delay effect. The low profile foot switch was color coded to match the effects with corresponding leds and the amp came as an individual rack mount, a stand alone head or a combo single 12 cabinet . It also had an extra speaker jack...I used 2 12" celestians. In the end, we made about 500 units and even got one to Robin Trower after a concert (whether he played around with it or not remains to be seen). In a year I'll retire and devote most of my free time to recording originals that've been swirling around in my head for decades as well as some of my favorite covers. I'm looking forward to increasing my skills with cakewalk and post my efforts. Here's to a better life through music! https://www.bandlab.com/post/27c7c510-4a05-ed11-b47a-281878315d59
  17. Yes, he did our NAMM presentation as well as the interview with the incredible folks from SSI (whose chip is used for one of the UNO Synth Pro's filters). Erik's presentation for NAMM 2021: His interview with SSI founders Dave Rossum and Dan Parks:
  18. This just in... We are absolutely thrilled to announce that Hollywood Orchestra Opus Edition has won the 37th Annual NAMM TEC Award for Best Musical Instrument Software! Considered the 'GRAMMY' of the pro audio industry, the TEC Award recognizes outstanding technical achievement and innovation. This comes off the heels of Hollywood Orchestra Opus Edition also winning the 2022 Sound on Sound Award for Best Software Instrument. It’s the first time in history a product has won both awards in the same year! We want to thank everyone who voted for this incredible product.⁠
  19. Free form June 3 NAMM celebration https://apogeedigital.com/soft-limit-plugin-find-out-first
  20. Maybe, but it will likely take years to design and manufacture bug-free hardware based on the new spec. MMA just finalized and adopted the 2.0 standard this year. Most of the gear is just prototype at this stage, like proof-of-concept that MIDI 2.0 messages can be sent and received. With the exception of: https://www.musicradar.com/news/namm-2020-rolands-a-88mkii-midi-keyboard-is-its-first-midi-20-ready-product https://www.theverge.com/2020/1/7/21028136/roland-a-88mkii-keyboard-support-midi-2-0-ces-namm-2020 Well the 88mkii appears to be ready!
  21. You got it. Long story: I'm a geek for corporate history. I've read every book written by former Fender employees (and there are a LOT of them!), books on Vox, Slingerland, Intel, Apple. I don't mention it around here, but I started a musical equipment company myself about 20 years ago. I was in the second wave of boutique stompbox builders and worked as a consultant to other boutique effects and amplifier companies. I've made many a trip to the NAMM show, and even seen my product ideas influence the companies who now own the brands that originally made the products I had reissued in boutique form. An interesting conceptual loop. It's a tangled web we weave even when we're not trying to deceive. Prior to starting my own company, I worked at Orban Associates, Nady Systems, and a variety of software companies including Macromedia (bought by Adobe). Macromedia was notorious for buying up promising products....and killing them. Deck was a sad example. Some here may remember that debacle. The SONAR story without the happy ending. They eventually hit it HUGE when they acquired a company whose main product was called Future Splash and renamed it Flash....which ruled the web for about 20 years. I don't know who might remember this, but back on the old forum, I was the biggest rah-rah about how the BandLab acquisition and freeware model might just result in the product becoming better than it ever had been. I was obnoxious about it at times. But I understood what was going on. Someone who cared had picked up the product, and he had done it before with Heritage Guitars. When I was 11, I acquired a stepfather who had already owned a company in Los Angeles that made fiberglass boats. Before music, boating was my main hobby and interest in life. I soaked up all of his stories of how companies go astray, observed in the next decade as he rescued multiple companies from the brink of ruin. This was getting toward the end of the era that saw CBS and Norlin going around snapping up peripherally-related companies that nobody at the home company either knew how to run or even wanted to run, and believe me, there were just as many sporting goods companies that suffered from this. Ron's biggest success was at a company called American Fiberglass, who had been bought by Ithaca Gun. Because who knows better what to do with a sailboat company than a gun company? One part of the Norlin story that's not mentioned often is that it was formed when a South American beer and cement company bought CMI. Because who better knows what to do with....you know the rest. The problem with the strategy in this era was that the acquiring companies overestimated the synergy, including how their corporate cultures would work together. I'm not as up on the Norlin years at Gibson, but I know a lot about the rise, fall, and resurrection of Fender. A fundamental flaw with the late 60's and early 70's acquisition culture was that these companies were founded and run by people who had a passion and great understanding for the products they were making. Leo Fender was a tech geek and music fan who was still inventing things up until about a week before he passed on. Gibson of course also had a great history of building great guitars and innovation. The pleasure boat business is similar. They're all founded by boating nuts who turn to design and construction. No ding whatsoever on a beer and construction materials company successful enough to buy an established American musical instrument company, or CBS/Columbia, who were and are legendary. However, the executives at these companies who were sent in to manage the new acquisitions joined the parent companies because they wanted to work in the industry these companies specialized in. People who worked at CBS wanted to work in the entertainment industry in New York City, not in manufacturing in California. It was probably similar with Norlin. You can be a brilliant in the beverage industry and/or construction, and passionate about it as well. And there is probably synergy between beer and cement. Construction workers buy lots of both things ?. No, actually, they're both made by mixing up bulk ingredients. At CBS, Fender was where careers went to die. The only hope these people had was to try to make Fender as profitable as possible so they could get sent back to New York. And no mystery what happens when that is the sole motivation for coming to work every day. In this era, Gibson was playing catch up with Fender for popularity. That Sonex guitar was a Gibson-shaped guitar built like a Fender. Screw-on removable neck (as you point out, for servicing and replacement, Gibsons are notorious for headstock cracks), drop-in pickguard with electronics all in place, etc. The best hope of salvation for these brands is subsequent acquisition by people who are passionate about the product. Bill Schultz and his crew with Fender are my favorite example. I watched Ron do it with American Fiberglass. Ron was living on a boat when he married my mom. The companies' original products also have to be popular enough and have enough reputation for something to survive. Fender guitars and amps? Heck yeah. Slingerland and Rogers Drums? Rhodes electric pianos? Sadly, not. So when Meng picked up Cakewalk, I had informed theories of how it might play out. He wisely rehired the people who were passionate about the product. I know about software development and music companies from the inside. It makes using Cakewalk more fun for me, watching to see what happens as far as product quality. I'm rooting for it. That's a cool piece of musical instrument history you have. And for maintenance and repair purposes, having the neck able to be removed makes for much easier refretting and other work. You don't have to protect the body while you're doing it.
  22. Starting May 30, 2022 - June 6, 2022 we will be offering our ProMix Bundle at 50% OFF...that's both of these amazing plug-ins for only $149. Stop by our booth during NAMM and get a special Coupon Code you can use for even bigger savings! $149 https://ayaic.onfastspring.com/ayaicware/promix-bundle
  23. Slap that Virtual Bass!!!!!!!! Thank you Henry for that excellent Video and MUSIC!!!!! Have a Great Weekend, Cheers from www.amplesound.net Until May 29th, 25% discount on all our Basses......2 days left Come and see our Booth #15301 at NAMM June 3-5
  24. Record at home or the go with the Connect II USB Audio Interface! Starting at $69.99 https://www.cadaudio.com/products/new-products/cx2 CAD Audio New Products NAMM 2022 - YouTube
  25. This. I've been going to NAMM Shows for 35 years, seen countless MIDI guitars, and it just seemed like a solution in search of a problem. I've read so many accounts of people saying that they had to develop new techniques and whatnot. It's always seemed that with all the time it would take me to work out all the glitches and get good at it, if I spent that time learning how to imitate guitar playing on my keyboard (a la Daft Punk on "Digital Love"), I'd get better results. Best application I've heard: Fripp and Belew on 80's Crimson. Coolest use: Josh Menashe of Triptides playing a plastic Casio DG-20 into an iPad that was running a Mellotron emulation. Since Triptides are a '60's retro band (complete with Farfisa and 12-string electric), it was mind-bending to see all those eras of technology represented. I sort of accidentally wound up with a MIDI guitar that I didn't know was a MIDI guitar until the morning I was going to sell it for $50 at a swap meet. https://www.engadget.com/2012-05-21-gtar-iphone-guitar-hands-on.html A friend's girlfriend won it in a raffle and gave it to me, and since I didn't have the right iPhone, I tossed it in the closet. By the time I dug it out, the company was gone and the iPhone app with it. So I forgot about it until the next time I put on one of my Musicians and DIY Electronics swap meets in Oakland. The morning of, I plugged it into a computer via the USB port just to check it. The computer happened to have Cakewalk running, and Cakewalk cheerfully asked me if I wanted to add it as a MIDI device. Uh....yeah? I guess? Turns out that before the company went away, they updated the firmware in the thing to make it a polyphonic MIDI controller, and mine was from that era. So far I've kept it around as an oddity, but it's kind of useless as a MIDI controller. It does "note on" okay, but is hopeless for "note off." To be usable, one would need to rig some kind of "all notes off" panic button. On the other hand (or strap) I love my Rock Band keytar. After watching Edgar Winter and Gary Wright tear it up on Midnight Special as a kid, I wanted to strap on a keyboard and prance around the stage. Hold the platforms:
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